There are 3,000 women in the light ballroom, and there are 12 ethereal flight platforms. There must be immortals planting jade, and Lantian is less wandering.
-"Two Songs on Snow" Year: Song Author: Mao Kun
Why call the clouds when you come, and why fly when you go. If my name is not dragon, how can I rain? -Twelve Questions and Answers Poems Send Seven Water Wheels to Ask the Dragon. Time: Song Author: Wang Ling
The fragrance has gone to heaven, and the phoenix flute is still as fragrant as the moon. -Three Songs "The Year of Hanging Yingying": Song Author: Susan Wang
Weng is flying fairy today. This is destiny takes a hand. -"The Year of the Drunken Man" Author: Song Author: Su Shi
From now on, be a flying fairy. -Great Sage Music: Song Author: Lu You
Looking back on Chu Shi's romantic life, cranes walk with people and always be a flying fairy. -Nian Nujiao Year: Song Author: Xin Qiji
2. The beautiful poem about flying painting in Taiping Yulan (Volume 622) in the Song Dynasty quoted the cloud in Xianpin: "In the flying clouds, it is easy to deify, thinking that it is a fairy, and it is also a cloud flying fairy."
The name of Tian Fei in Dunhuang comes from Buddhism, which refers to deified figures who have turned into pure land and whose heaven is heaven, such as Brahma, Virtuous Heaven, Virtuous Heaven and Thirty-three Days. In the Tang Dynasty's Collection of Golden Light and Ming Classics, it is said: "It is also heaven to call on God in foreign countries." In Buddhism, the gods fly in the air, which is called flying. Tian Fei often appears in the murals of Buddhist grottoes. In Taoism, mythical figures who have ascended to heaven are called "immortals", such as "leading immortals", "celestial immortals" and "barefoot immortals", and immortals who can fly in the air are called flying immortals. In the Song Dynasty, the Taiping Magnolia Volume 622 quoted a cloud in Fairy Products: "Flying in the clouds, lightly deifying, thinking that immortals are also flying in the clouds."
Flying immortals are often painted in tomb murals, symbolizing that the soul of the tomb owner can ascend to heaven. After Buddhism was introduced into China, it exchanged and merged with Taoism in China. During the Wei, Jin, Southern and Northern Dynasties, shortly after the spread of Buddhism, flying in murals was also called flying fairy, which was the difference between flying fairy and flying fairy. With the in-depth development of Buddhism in China, the flying gods of Buddhism and Taoism are integrated in artistic image, but in name, they just regard flying in the air as flying. Flying in Dunhuang is a flying god painted in Dunhuang grottoes, and later became a special term for Dunhuang mural art.
Tian Fei in Dunhuang is not a god in terms of origin and function. This is a combination of dryness and tension. Ganlupo is a transliteration of Indian Sanskrit, literally translated as the god of songs. Kinnara is a transliteration of Sanskrit in ancient India, literally translated as the God of Music, because he is full of fragrance. Gandiwa and Kinnara were once the entertainment gods and dance gods in ancient Indian mythology and Brahmanism. Myths and legends say that they are a loving couple, who can sing and dance, and are inseparable and harmonious. Later, it was absorbed by Buddhism and became two gods among the eight gods. Hui Lin in the Tang Dynasty explained: "The true Dharma was Kinnara in ancient times, with a low voice, which can be sung and danced. Men are horseheads and can sing; Women are upright and can dance. Next time, my daughter will marry her godmother. " With the development of Buddhist theory, artistic aesthetics and artistic creation, Ganlupo and Kinnara have gradually evolved from the ferocious face of the horse's head to a beautiful face and figure, dancing and soaring in the sky. The original functions of Ganlu Po and Kinnara among Buddhist gods are different. Manna-the music god's task is to spread incense, offer flowers, present treasures, praise Buddha, live in flowers and fly in the Heavenly Palace. Kinnara-the music god's task is to play music and dance for Buddha, bodhisattva, gods and heaven in the pure Buddhist world, and live in the Heavenly Palace, but not fly in the sky. Later, Manna Bao and Kinnara. The donkey girl can also play musical instruments, sing and dance; Kinnara also rushed out of the Heavenly Palace and flew into the sky. Ganlupo and Kinnara, regardless of gender, merged into one and became the flying Dunhuang of later generations. During the Western Wei Dynasty, there were flying songs and dances in Mogao Grottoes. After the Sui Dynasty, Ganlupo and Kinnara became one, and they can't be separated anymore. Only when writing an article in the music and dance circle, in order to distinguish it from musicians, the godmother who played music in the early days was called the Tiangong musician, and later the Tian Fei musician who integrated music and dance was called the Tian Fei musician. As far as artistic image is concerned, Dunhuang Tian Fei is not a cultural and artistic image, but a synthesis of various cultures. Although Tian Fei's hometown is in India, Tian Fei in Dunhuang was bred by Indian culture, western culture and Central Plains culture. It is a flying sky with China cultural characteristics. It is a long-term exchange between Indian Buddhist heaven and human beings and China Taoist feather people, flying in the western regions and flying in the Central Plains. It was a featherless, round, dull, colorful and cloudless sky, soaring mainly by fluttering dresses and fluttering ribbons. Flying in Dunhuang can be said to be the most talented creation of China artists and a miracle in the world art history.
3. The article describing Dunhuang Tian Fei is the business card of Dunhuang Mogao Grottoes and a symbol of Dunhuang art. ..
As long as you see beautiful flying. People will think of Dunhuang Mogao grottoes art.
Almost all of the 492 caves in Dunhuang Mogao Grottoes are painted with flying sky. According to Mr. Chang Shuhong's Preface to Dunhuang Feitian Large-scale Art Album, there are more than 4,500 pieces.
Its number can be said to be the best preserved grottoes among Buddhist grottoes and temples in the world and China. The origin and characteristics of the name of Dunhuang Tian Fei are summarized as follows: Edit this paragraph 1. The origin of Dunhuang's name is called "Heaven" in Buddhism, such as Brahma, Meritorious Heaven, Talented Heaven and Thirty-three Days. In the Tang Dynasty's Collection of Golden Light and Ming Classics, it is said: "It is also heaven to call on God in foreign countries."
In Buddhism, the gods fly in the air, which is called flying. Tian Fei often appears in the murals of Buddhist grottoes. In Taoism, mythical figures who have ascended to heaven are called "immortals", such as "leading immortals", "celestial immortals" and "barefoot immortals", and immortals who can fly in the air are called flying immortals.
In the Song Dynasty, the Taiping Magnolia Volume 622 quoted a cloud in Fairy Products: "Flying in the clouds, lightly deifying, thinking that immortals are also flying in the clouds." Flying immortals are often painted in tomb murals, symbolizing that the soul of the tomb owner can ascend to heaven.
After Buddhism was introduced into China, it exchanged and merged with Taoism in China. During the Wei, Jin, Southern and Northern Dynasties, shortly after the spread of Buddhism, flying in murals was also called flying fairy, which was the difference between flying fairy and flying fairy.
With the in-depth development of Buddhism in China, the flying gods of Buddhism and Taoism are integrated in artistic image, but in name, they just regard flying in the air as flying. Flying in Dunhuang is a flying god painted in Dunhuang grottoes, and later became a special term for Dunhuang mural art.
Tian Fei in Dunhuang is not a god in terms of origin and function. This is a combination of dryness and tension.
Ganlupo is a transliteration of Indian Sanskrit, literally translated as the god of songs. Kinnara is a transliteration of Sanskrit in ancient India, literally translated as the God of Music, because he is full of fragrance.
Gandiwa and Kinnara were once the entertainment gods and dance gods in ancient Indian mythology and Brahmanism. Myths and legends say that they are a loving couple, who can sing and dance, and are inseparable and harmonious.
Later, it was absorbed by Buddhism and became two gods among the eight gods. Hui Lin in the Tang Dynasty explained: "The true Dharma was Kinnara in ancient times, with a low voice, which can be sung and danced.
Men are horseheads and can sing; Women are upright and can dance. This time, most of the heavenly daughters married their godmothers. "
With the development of Buddhist theory, artistic aesthetics and artistic creation, Ganlupo and Kinnara have gradually evolved from the ferocious face of the horse's head to a beautiful face and figure, dancing and soaring in the sky. The original functions of Ganlu Po and Kinnara among Buddhist gods are different.
The mission of Ganlu Baole God is to spread incense in the pure land of Buddhism, offer flowers, treasures and praises to the Buddha, live among flowers and fly in the heavenly palace. Kinnara-Song Shen's task is to play music and dance for the buddhas, bodhisattvas, gods and celestial bodies in the pure land of Buddhism, live in the Heavenly Palace, not fly in the clouds, and do it later. The donkey girl can also play musical instruments, sing and dance; Kinnara also rushed out of the Heavenly Palace and flew into the sky. Ganlupo and Kinnara, regardless of gender, merged into one and became the flying Dunhuang of later generations.
During the Western Wei Dynasty, there were flying songs and dances in Mogao Grottoes. After the Sui Dynasty, Ganlupo and Kinnara became one, and they can't be separated anymore.
Only when writing an article in the music and dance circle, in order to distinguish it from musicians, the foster mother who played music in the early days of heaven was called Tiangong musician, and the Tian Fei musician who later merged music and dance was called Tian Fei musician. As far as artistic image is concerned, Dunhuang Tian Fei is not a cultural and artistic image, but a synthesis of various cultures.
Although Tian Fei's hometown is in India, Tian Fei in Dunhuang was bred by Indian culture, western culture and Central Plains culture. It is a flying sky with China cultural characteristics. It is a long-term exchange between Indian Buddhist heaven and human beings and China Taoist feather people, flying in the western regions and flying in the Central Plains.
It was a featherless, round, dull, colorful and cloudless sky, soaring mainly by fluttering dresses and fluttering ribbons. Flying in Dunhuang can be said to be the most talented creation of China artists and a miracle in the world art history.
Edit this paragraph 2. The characteristics of Dunhuang murals flying in the sky, the creation of flying in the sky and Huai grottoes appeared at the same time, starting from the sixteen countries and going through ten dynasties, which lasted for more than a thousand years until the end of the Yuan Dynasty, and disappeared with the construction of Dunhuang grottoes. In this long history of more than 1000 years, Tian Fei's artistic image, posture, artistic conception, style and taste are constantly changing due to the historical situation such as the replacement of dynasties, the transfer of political power, the development and prosperity of economy and the frequent exchanges between Chinese and Western cultures. Different times and artists have left us Tian Fei with different styles and characteristics.
Over the past 1000 years, Dunhuang Tian Fei has formed a unique history of evolution and development. Its evolution history is generally consistent with the whole history of Dunhuang art development, which is divided into four stages: 1 and rising period.
From the Sixteen Kingdoms Beiliang to the Northern Wei Dynasty (366-535 AD), it was about 170 years. During this period, the flight of Dunhuang was deeply influenced by the flight of India and the western regions, and it was generally the flight of the western regions. However, the flight characteristics of the two dynasties were slightly different during this period.
When the northern part of the Mogao Grottoes is cool, Feitian is mostly painted on the top of the grottoes, in the decoration of algae wells on the top of the grottoes, along the top of the niche, and on the main head of bunsen burner's story painting. Its modeling and artistic features are: round head, oval face, straight nose and big eyes, big mouth and big ears, earrings, round head, or wearing tendrils, or wearing a five-treasure crown of India, short stature, half-naked upper body, long skirt wrapped around the waist and a big scarf on the shoulders. Because of the discoloration of the smudge technique, it turned into a white nose and white eyes, flying around in caves such as Qiuci in the western regions.
When the Mogao Grottoes were first built, painters in Dunhuang area were not familiar with Buddhist themes and foreign art, and were in the stage of imitation, so they were bold and bold in painting and looked rough and simple. There are only three existing Beiliang Grottoes in Mogao Grottoes.
Tian Fei with the coolest style is located above the protagonist of this miniature story painting on the north wall of Cave 275.
4. Is the poem about flying really tired of this secular world?
In this way, the feathers are gone.
cloud wechat business
Fog is yarn.
Where does the top of the mountain receive dew as a spring?
Feeding deer and grazing cranes
Why can I still see you at sunrise?
A blushing face
Dress with dew and dew
The ethereal fairy picked a song.
Is it from you, Yudi?
In a sound-seeking way
But you drop a tear into the spring.
Turn around and fly to the mural of Mingsha Mountain.
Put on an eternal dance
smile
Among many tourists.
Looking for nirvana in previous lives